Monday 29 August 2016

New Music Monday: We're Not Just Cats Records

This Monday we have two artists from We're Not Just Cats Records (a label committed to helping internet based musicians release music) to talk about - Lou Foulkes and George Reece.

Both Lou and George have recently released albums so I have picked a few tracks from each to summarise the overall feel of them.

We'll start with the slightly rocky tones of Lou Foulkes' 'Grin And Bear It', released on August 8th 2016.

To introduce the record we have 'Grin And Bear It Part I'. a short track that does a great job of letting the listener know what's in store. It is also the first time you get to hear the raw tone of Lou's vocal with a hint of accent coming through. I feel that this adds a really nice quality to the music as a whole, almost making it more personal.

It's hard to put a label on this album in terms of genre apart from singer/songwriter with a rock edge, I'd say.

Each song on the album has a different story to tell and the lyrics depict the narrative really well. A track that showcases this is 'Guinness And Black'.

Acoustic guitar driven, 'Guinness And Black' has a really laid back feel. The vocal is complemented by soft piano and drums but to be honest I was so focused on what Lou was singing about I hardly noticed them slip in!

The stand out lyric of the song would be 'she's the disaster that my world can't do without'. I feel this perfectly sums up the narrative.

To end 'Guinness And Black' everything comes together, including a bass, for a slightly more instrumental part with a vocal harmony over the top. I can imagine a crowd waving their palms to this part of the track.

'Grin And Bear It Part II' is the last track on the album.

This is really interesting as it mirrors 'Grin And Bear it Part I' lyrically, although I would say it is more of a stripped back version in terms of overall intense-ness (we'll pretend that's a word).

It's also slightly slower but this creates a relaxed feel to finish an overall more acoustic, chilled album. The fact that the deja vu feeling is slowly taken over by spacey synth sounds towards the end could be interpreted as a hint of what is to come next from Lou Foulkes...

Overall, 'Grin And Bear It' contains beautifully crafted lyrics and calm guitars mixed with more intense emotive tracks and a vocal that captivates - I'd recommend giving it a listen.


Moving on, we have 'An Introduction To George Reece' by (you guessed it) George Reece.

Released on August 1st 2016, this mammoth 18 track album is a complete contrast, I would argue, to 'Grin And Bear It' although it is still acoustically orientated.

My initial reaction to 'An Introduction To George Reece' was that it is quirky and rather organic sounding.

One track I thought I should mention is 'I'd Better Say'.

The song starts off with a repeated guitar pattern that is then built upon with a 'snazzy' drum machine-esque beat.

There is a definite groove to this song that is helped along by a rhythmic bass pattern.

The chilled feel carries on with an electric guitar solo in the middle of the track that you can't resist tapping your feet to.

Another song I really liked is 'Darling'.

This is one of the slightly slower songs on the album which makes for a very atmospheric track.

In contrast to much of the album, 'Darling' starts with a beautiful piano part. The vocal enters softly and a cheeky electric guitar slips in after a couple of verses, adding a subtle layer of sound that really adds to the atmosphere.

In my opinion, 'Darling' is a well put together track that uses a good mix of vocal and subtle instrumentation to convey emotion. I can imagine this live with people waving their phone torches in the air.

On the other hand, a track that's slightly more intense than the others is 'Wherever You Are'.

Written in my notes: 'Starts off with really nice electric guitar and cowbell (?)'

Being more electric guitar driven, 'Wherever You Are' is the perfect set up for the next track, 'Morality' which is potentially my favourite track.

Starting where 'Wherever You Are' left off in terms of an electric guitar sound, 'Morality' is slightly more chilled - there's even a shaker.

George's raw vocal is showcased well in this one and blends well with the instrumentation to create a mellow tone.

'Got to live what you want to believe.
 Got to give what you want to receive.'

There is a nice section towards the end of 'Morality' where backing vocals are added, repeating the above lyrics taken from the chorus and hand claps are added. This helps the organic vibe of the album and provides a great beat.

Keeping the mellow vibe, a bass line fits into the rhythm of the lyrics well and the track fades out. This gives the illusion that George is walking away singing with his crowd of happy people - a nice thought.

Overall, the title 'An Introduction to George Reece' is really appropriate as I feel this is the perfect introduction to both George Reece as an artist and, in turn, you see a glimpse into George Reece the person through songs written from personal experience, like an audio scrapbook if you will.


Until next time...

@wewantgoodmusic

To find out more about We're Not Just Cats Records please click here: werenotjustcatsrecords.com

Thursday 25 August 2016

TBT: Brother And Bones 'For All We Know'

Released in 2012, 'For All We Know' is the title track of one of Brother And Bones' first EPs.

We'll get the obvious sound comparison out of the way - Brother And Bones could be compared to Mumford And Sons due to the style of music they produce so well. However, Brother And Bones put their own stamp on everything to make it unique.

'For All We Know' is a really interesting song. 

Starting off quietly with just a beautiful acoustic guitar and deep vocal softly singing 'For All We Know', this track could be described as acoustic with a rock influence.

A pulsing kick drum enters with more intricate guitar patterns to build up into the chorus.

Containing a cheeky tambourine and powerful drums, making a bold statement, the chorus is emotional and simplistic.

Lyrically, the song tells a story really well. You would assume it is a sad song based on the lyrics. Take the first verse for example:

'I still feel the lonely mornings,
Yea the same ones you left behind.
Now loneliness the only thorn in,
The only thorn left in my side.'

This said, the vocal delivery somehow uplifts the lyrics. I really like the tone of the vocals and I think the ability to move effortlessly from the soft tones featured in the beginning of the track to the stronger, more emotive vocal of the chorus, back to the soft tone makes the song really interesting and compliments the acoustic style.

Towards the middle of the song, there is a really nice build up into the final chorus. This includes the repetition of the phrase 'for all we know' with the addition of backing vocals singing 'where are we now' - haunting. This is accompanied by a crescendo of electric guitar and drums, culminating into an explosive end that would get any crowd waving their palms in the air.

However, the track effortlessly slips back to return to its acoustic state with a simple acoustic guitar and vocal, showcasing the depth and emotion of the vocal. 

I can imagine this song and band being absolutely captivating live.

Until next time...

@wewantgoodmusic


To find out more about Brother And Bones please click here: www.brotherandbones.com/music/


'

Monday 22 August 2016

New Music Monday: Billy Mitchell 'Fear Of The Night'

'Fear Of The Night' by Dundee rocker Billy Mitchell is this week's dose of new music.

The song is made up of typical indie-rock-esque drums and guitar riffs but what really interests me about this track is the chorus.

The track starts off with a relatively catchy guitar and drum section, leading into the first verse where the established beat keeps your foot tapping.

This is emphasised in the chorus with bigger drums and the addition of louder cymbals marking the beat. The layered vocals make the chorus seem massive, I can definitely imagine this song live in a festival environment.

Billy's vocal sounds very familiar, not too polished and full of emotion.

I think the mark of a good chorus is 'can I remember the lyrics?' 'would I sing along?'.

Yes.

After only listening to 'Fear Of The Night' a couple of times, I can safely say that I know the lyrics and am probably going to be humming the chorus tune all day - it's memorable.

Aside from that, I particularly like the little electric guitar patterns showcased after the second chorus.

The ending to 'Fear Of The Night' is interesting as well due to the clever use of panning and an electric guitar - you should give it a listen using headphones to see what I mean.

I can't wait to hear more from Billy Mitchell.



Until next time...

@wewantgoodmusic



Saturday 20 August 2016

MUSIC AT SITC IN PICTURES

Summer In The City (SITC) is the UK's largest YouTube event. As well as informative panels, meet and greets with YouTubers and other stage shows, SITC does a fantastic job at showcasing some great music from, but not exclusively, YouTube musicians.

Here are just some of the musicians that performed at the event this year, I recommend typing their names into YouTube and giving them a listen!

*These photos were taken using my phone as this post was a bit of an impulse decision on the day.


EMMA BLACKERY










JON COZART





BOX OF LIGHT







BARS AND MELODY





THE MIDNIGHT BEAST








TOBY RANDALL



DODIE CLARK




TESSA VIOLET




SITC SONG OF THE YEAR AWARD: DODIE CLARK



Until next time...

@wewantgoodmusic



Thursday 18 August 2016

TBT: Chase Atlantic 'Dalliance EP'

For those who are unaware, Chase Atlantic are a three piece pop punk type band hailing from Australia.

Today we're going to be casting our minds back to 2014 when Clinton, Mitchel and Christian released the 'Dalliance' EP.

The EP features five tracks, one of which is a remix that I won't really be commenting on.

Starting off with pretty sparkly synthy type sounds being interrupted by punchy drums and urgent vocals, the first track on the EP is 'Anchor Tattoo'.

Listening back, I find that Chase Atlantic remind me of a mix between 5 Seconds Of Summer and The 1975 (a comparison that I'm sure many people have already made). This combination means that they incorporate crazy guitar riffs with catchy melodic choruses to create a pop punk vibe to many of their songs.

The guitar driven anthem 'Anchor Tattoo' quietens down towards the end, exposing the simple sparkly synthy sounds that initiated the track. This transitions into the second song 'Gravity' really well.

'Gravity' slows things right down.

Using a softer palette of sounds and simple drum beat creates a feeling of emptiness/floating which is in keeping with the title of the track.

In addition, this showcases the vocal really well. The vocal itself is arguably quite polished but still holds emotion and I really like the fact that the Australian accent comes through.

Towards the end of the track there is a bit of a build up where the drum kit enters playing a strong beat, accompanied by an electric guitar defining the beat for an instrumental ending.

Keeping things slow, next up we have 'Hold Your Breath'.

Starting off with not much more than a bass, guitar and vocal, the beginning to 'Hold Your Breath' is relatively mellow in nature.

The chill vibes are kept up until a running drum beat is thrown into the equation.

This explodes into a chorus where the track is layered up with guitar riffs and interesting drum patterns to create an almost typical pop punk sound.

As such, there is a bit of contrast in this song - the verses being relatively quiet compared to the intense urgency of the chorus, driven by the drum beat previously mentioned.

Towards the end, there is a real surprise when the vocal becomes distant and slightly distorted for a split moment. This keeps things interesting.

Finally (excluding the remix track) we have my personal favourite track on the EP, the one that introduced me to Chase Atlantic - 'Run Away'.

Starting with a really chill (I apologise for the over use of chill) click beat that bass and guitar riffs lock into, 'Run Away' has a very summery vibe.

This is taken to a completely new level when the drums enter and the insanely catchy chorus starts.

What makes this song even better is the beautiful saxophone solo half way through.

Returning to the original minimalist clicking and guitar, the song is left to drift away to finish - almost like watching someone run away potentially.

Overall, the 'Dalliance EP' is a great feel good listen.


Until next time...

@wewantgoodmusic

Monday 15 August 2016

New Music Monday: 'Blossoms' by Blossoms

If you haven't already heard, Blossoms are a five piece band from Stockport whose debut album headed straight for number one on Friday.

The self titled debut is initiated with tracks 'Charlemagne', 'At Most A Kiss' and 'Getaway' - all of which I had previously heard on the radio and had consequently enticed me to buy the album.

'Charlemagne' is enhanced by a great bass rhythm that solidifies an overall groove for the song. Combined with the lyrical rhythm of the chorus - this creates a memorable track.

The bass is truly showcased, along with a drum beat, in the middle section of 'Charlemagne' when the vocals are taken away, leaving you with a stripped down rhythm track.

Most of the tracks on the album use similar instrumentation (drum kit, guitar, synths) but there are a few surprises.

For instance, 'Onto Her Bed' opens with a piano melody which is a real contrast from the previous, synth and guitar driven songs. The vocal then slips in. I feel this provides a bit more emotion to the song than we have previously heard. I really liked this opening.

Another introduction I thought was interesting can be found on 'Smashed Pianos'.

It opens with a drum machine type beat with a mysterious broken melody draped over the top.

The vocals are added in an old radio type style - very intriguing.

But then you're thrown into a semi-familiar sound when a bass enters. the drums start to sound more like a traditional kit and Ogden's vocal becomes clearer.  

The sound continues to get clearer and louder whilst maintaining the initial beat.

This is potentially my favourite track.

In particular, I like the way it ends with a mild crash sound - a smashed piano?

Personally, I think you can hear a few influences in this album.

The first I picked up on was on 'Cut Me And I'll bleed' where the vocal style reminds me of Alex Turner (Arctic Monkeys). This is by no means a bad thing.

The second can be found in the following track 'My Favourite Room'.

As for the song itself, it is a complete contrast from the rest of the album.

Starting off with a simple acoustic guitar, 'My Favourite Room' is much slower than the rest of the album and I like that a lot.

Ogden's vocals enter softly, creating a lovely atmosphere.

Interestingly, a tambourine is added to hold the beat as there are no drums.

Towards the middle section, the guitar stops to showcase the raw vocal at the pinnacle of the song.

This is followed by the addition of piano notes, adding to the pretty 'acoustic-ness' of the song.

'My Favourite Room' reminded me of a sort of acoustic version of Catfish and The Bottlemen in parts.

But don't get used to this softer sound as it is soon over.

'Blow' follows 'My Favourite Room'.

It's back to what we know - a drum kit starts creating a solid beat and is met by a heavy bass line and distorted guitars. The familiar vocal then comes in as well as the odd synth appearance.

Overall, Blossoms self titled debut features a lot of songs with good beats, catchy hooks and powerful guitar riffs that wouldn't be out of place at a festival that sit alongside tracks with a softer sound.


Until next time...

@wewantgoodmusic


Thursday 11 August 2016

TBTA: Oh Wonder 'Livewire'

I believe that I first heard 'Livewire' on Connor Franta's compilation album 'Common Culture' (volume three I think).

After some research, I found that Oh Wonder are a duo from London that are causing quite a storm in the indie world.

But we're here to talk about 'Livewire', released in 2015.

The song has a beautiful piano part with complimentary bass lines and effortless vocals.

Using the term for an exposed electrical cable, 'Livewire' is a metaphor for a relationship. The narrator shows feelings of self doubt and longing for this person to become their 'livewire' (partner).

This is shown in the standout lyric of the song:

'Won't you be my livewire, make me feel like I'm set on fire. Your love will take me higher and higher.'

The duo's timid, yet emotive, vocals draped over a foundation of strong, yet not overpowering, beats and minimalist piano creates a fragile, sort of vulnerable atmosphere to the song.

Staying quite subdued throughout, there are small build ups to each chorus.

However, before the final chorus, a different guitar part is added which provides a contrasting tone to the song. Everything then returns to a subtle, vocal orientated state, only to be launched into the final chorus with full instrumentation.

The track ends with a final piano melody and the vocal is left to drift, almost hauntingly.

I can only imagine how captivating this track is performed live.


Until next time...

@wewantgoodmusic

Monday 8 August 2016

New Music Monday: 'Pretty Smiles' by Pete Gardiner

I wasn't sure what to expect when I clicked on the link to Pete's SoundCloud but was very pleasantly surprised.

'Pretty Smiles' is a relatively slow/mid tempo song that reminds me of artists such as Tor Miller and Passenger in that Pete has managed to combine beautiful melodies with a well written narrative.

The song starts with a simple clap and drum beat accompanied by what I would describe as a pretty xylophone sounding pattern. This subtle beginning helps to showcase Pete's raw vocal from the start.

Claps help to punctuate the music and drive the song forward as well as provide a great beat.

'It ain't easy, when you're falling in love with a ghost all damn night' is the main lyric of the memorable chorus. The chilled beats from the introduction are now met by more complex patterns, providing a thicker texture, adding interest.

As for the verses, they are very intricately written - telling a story with each word.

I also like the fact that Pete's Irish accent comes through in the vocal.

There is a slow build up to the final verse where the drums and guitars get a bit more intense while still keeping the pretty melodies. This culminates in the final chorus which is just massive.

I can imagine this song sounding perfect on a summer's drive or at a festival with a crowd singing along.

Towards the very end, the song breaks down to a single acoustic guitar on a layer of softer sound to emphasise the lyrics 'you're someone else's dear and your taxi's almost here', mirroring the beginning line of the song. You feel a powerful sense of emotion in this part of the track.

To end, the guitars are just left to drift which, personally, I think is a perfect way to finish - it's almost like the person is watching someone walk away, or something to that effect.

Overall, everything fits together really well, forming a great pop inspired track. This is to be expected as it is pulled from Pete's forthcoming debut album produced by three times Mercury Prize winner Tommy McLaughlin of Villagers fame and mixed by Ash Howes who has worked with the likes of Ellie Goulding and Dido.

'Pretty Smiles' is polished yet retains a powerful sense of emotion.

I am excited to hear more from Pete Gardiner in the future.



Until next time...

@wewantgoodmusic


To find out more about Pete please click here: http://petegardiner.co.uk/

Thursday 4 August 2016

TBTA: The Maine 'Black & White' Album

I was quite late in discovering The Maine so this was the first of their albums that I encountered.

More specifically, the first song I ever heard by The Maine was 'Every Road'. I was listening to this the other day and got inspired to write this post.

Released in 2010, 'Black & White' is a pop rock, feel good record packed with catchy hooks and guitar riffs that leave you with no choice but to dance around, not to mention the beautifully crafted lyrics and infectious choruses.

The album opens with a striking electric guitar, followed by a tambourine-esque shimmering sound and a steady drum beat punctuated with the odd cymbal crash. This, I would say, is quite typical of the album's instrumentation make up.

It was hard to pick out my favourite songs to sum up the album but I managed to narrow it down to three; 'Book Of Me And You', 'Every Road' and 'Listen To Your Heart' all of which mean something different to me.

That's what I love about The Maine - their songs have a narrative or message but can also be interpreted to fit your personal situation.

We'll start with 'Book Of Me And You'.

The song is introduced with long electric guitar notes and drums but quickly settles down to focus on John's raw vocal, accompanied by some backing vocals to emphasise key phrases.

I personally really like the vocal on this album. I can't really place why, I just think it sounds inviting and real.

During the verses of  'Book Of Me And You' the vibe is pretty laid back. This builds slowly into more guitar driven choruses with added guitar melodies in the following verses.

However, the track ends really nicely with simple electric guitar strumming (that's probably not the right term - I apologise to guitarists reading this) that's left to drift.

Lyrically, the song (in my opinion) is about a relationship being tested.

'I turn the page, thinking I can turn this around'.

''Every wall that's up must come down'.

'I keep thinking, time will make us strong enough'.

'Find another window, with a different point of view'.

'This is just another chapter, in the book of me and you'.

These are just some of the lyrics pulled from various verses and the chorus that illustrate the relationship.

Moving on, 'Every Road' had to be mentioned as it was the song that brought me to The Maine.

This is arguably one of the most pop punk songs on the album.

It starts much like the other tracks with a drum beat and smooth guitar.

I think what attracted me to this song is the chorus - it's just so catchy.

Catchy is an overused word (especially on this blog!) but it truly is - give it a listen and you'll understand.

In addition, this was the first time I had heard The Maine's storytelling capabilities that weave into every song on the album.

There's also a killer guitar solo in the middle of 'Every Road' (perfect for a bit of air guitar if you ask me).

Finally, 'Listen To Your Heart'.

'Listen To Your Heart' is initiated with a pulsing drum pattern that plays in time with a pulse like guitar, creating a sense of urgency.

'We're too young, this is never gonna work. That's what they say - you're gonna get hurt' is the opening lyric of the song.

This track is another great example of the storytelling I was talking about.

'Don't listen to the voices in your head, listen to your heart'.

This is the main point of the song.

My interpretation is that the lyrics are about a young couple who's friends and family are disapproving of the relationship.

'Your mother, she thinks that this is just a phase - I think that we should run away'.

'Listen To Your Heart' is an anthem for a forbidden love story.

Overall, 'Black & White' is a really great album that I encourage you to have a listen to. Since, The Maine have released another album entitled 'American Candy' which is equally as good, if not better.

I also feel that The Maine would be a fantastic band to see live and can't wait to hear more from them.


Until next time...

@wewantgoodmusic

Monday 1 August 2016

New Music Monday: Asylums 'Killer Brain Waves'

It's rare that a band become one of my favourites so quickly. 

Before even releasing their debut album 'Killer Brain Waves' (which we'll get to in a second) Asylums were well and truly paving the way to success with the release of absolute anthems such as 'Joy In A Small Wage' and 'Necessary Appliances' that blend a mix of punk rock qualities with pop riffs and urgent vocals. 

Somewhere between touring, running a record label and life in general, the four piece managed to write a unique, thought provoking gem of an album - 'Killer Brain Waves'.

'Killer Brain Waves' was released on 29th July 2016 and was eagerly anticipated by many (including yours truly).

A sense of familiarity is created in the album due to six of the tracks being released previously as singles. I personally quite like the fact that half of the album is instantly recognisable and feel as though this makes you appreciate the new material even more because it's within the context of a sound you already know.

However, this didn't prepare me for what I was about to experience.

First thought when I hit play: OKAY IT'S BEGUN. 

Roaring electric guitars, heavy drums and a cheeky little bass line faintly heard through the cloud of noise created by other instruments introduce the song, the album and Asylums perfectly. 

This track is 'Second Class Sex'.

The song addresses a poignant issue in culture and today's society, too deep to go into now but have a listen and you'll get what I mean.

Next up we have another previously released song - 'I've Seen Your Face In A Music Magazine' - that continues the energy and ferociousness with an incredibly catchy chorus, helped along by an infectious guitar part.

In my notes I have written that I especially liked what sounds like the dropping of drum sticks at the end of the track. I guess this adds a sense of authenticity.

'Joy In A Small Wage' follows.

Some describe this as more of a pop punk type of song.

As always, I don't know the intended meaning behind this song but here's how I interpret it...

I interpret the song to mean that you don't need a lot of money to be happy, just people (friends and family) that love you and to be content with experiences rather than material possessions.

Lyrics that represent this, in my opinion, include 'there's joy in a small wage' and 'there's a whole world outside your room'.

A lot of people nowadays sit in their rooms on social media or playing the latest game, downloading 'this new app' or whatever instead of travelling, walking, talking, wandering around, having fun exploring their surroundings and embracing the natural world around them and community spirit, forming real connections with people - 'there's a whole world outside your room'. 

I'm probably majorly overthinking this but it certainly makes you think.

But, before you have too much time to think, 'Bad Influence' hits you, opening with a heavy distorted guitar.

'You're the greatest bad influence of my life and I don't know what I'll do when you're not here'.

I feel like everyone has a person like this in their life.

The lyrics above gave me a pang of emotion the first time I heard it which is kind of weird when listening to a a slightly aggressive, chaotic mix of guitars and drums.

This is something that Asylums do incredibly well - a great rock sound with something to say, something that may provoke emotion in you too.

Instrumentation wise it is very similar to the tracks that precede it.

First impression of 'Wet Dream Fanzine' - Was that a cowbell I just heard?

Moving on, we have a frantic 86 seconds of pure genius talking about the 'Death Of The Television'.

I particularly like the use of a bit of classic call and response during this song, in a chanting fashion. 

'Turn off the television' ends this unapologetic anthem in an abrupt manner perfectly suited to the aggressive desperation of the track.

After that we have one of the best song titles I have seen in a while - 'Monosyllabic Saliva'.

This is another new track with a slightly more laid back feel to it, especially in the chorus, 

The vocal on this track seems to be a bit more...almost slurred at points, giving a different tone to it.

Another piece of new material is 'Born To Not Belong'. 

Again, this is slightly slower than the typical Asylums sound and arguably executed in a more controlled manner. 

In short, the 'message' of the song (in my view) is everyone's different, we're 'born not to belong' - embrace individuality, don't try or feel you need to change or 'return to the manufacturer'. 

Towards the end of the track there's a really nice, almost instrumental. break that seems to synchronise everything together well to lead into the final chorus rendition featuring the lyrics 'we were born not to belong' repeated over and over, ending in an anthemic style. 

You can almost imagine the crowd chanting, fists in the air at the end there.

'Not To belong' is a contender for my favourite track on the album and is a great opener for 'Necessary Appliances', another contender for my favourite track.

'These appliances that fill our homes make it easier to live alone'

'Chemical free but we're empty'

Are just some of the lyrics packed within the verses of this piece of social commentary.

Has technology gone too far? Are we relying on it too much?

Only when reading my notes back did I notice that this song links with other ideas found in tracks such as 'Death Of The Television' and 'Joy In A Small Wage'.

'Necessary Appliances' contains killer drum patterns, fills and lots of cymbal action.

With an infectious main guitar riff, you can't help but lose yourself to this. 

The energy in this song is fantastic to witness live. My friend (who isn't particularly into rock music) came with me to watch an Asylums set recently and ended up headbanging along to this with me in a sweaty emotion charged mess - it was a great moment. 

Now, after seeing the name of the next track I was intrigued...

'Sunday Commuters'

I would say this track has a slightly brighter tone than others on the album, especially in the beginning, and could be compared to 'Born To Not Belong'.

We have now arrived at possibly my favourite song on the album - 'Missing Persons'.

I remember the first time I saw Asylums (a year or so back maybe) - this was the one track that stood out to me back then.

As soon as that initial guitar riff hits you know you're in for a treat.

On the album, 'Missing Persons' provides a refreshing contrast and perhaps more of a 'pop-y' vibe during the choruses with the main lyric being 'let's go missing, and then start over'.

A mellow bass line keeps the song rooted and I especially like the way that the last guitar chord is left to buzz/drift away. 

Finally we have 'Slacker Shopper'.

First impression: Distorted. Very Distorted. Vocal - distorted.

This track ends very abruptly so I was a bit surprised when my minute of silence was suddenly interrupted by a stunning electric guitar pattern and clean vocal (this reminded me of The Stone Roses, no idea why but it's definitely a compliment).

We have a hidden track.

I won't say too much apart from it's an unexpected pretty contrast that I really enjoyed.

Overall, I like the fact that certain tracks on 'Killer Brain Waves' are so manic that it sounds like thoughts and feelings have been thrown down into a fantastic, unstructured piece of raw brilliance. 

Asylums are a clever band who's music disguises societal issues under a blanket of rock rebellion with imaginative titles that make you want to jump, dance, just move. 

'Killer Brain Waves' is like nothing I have personally ever heard before and I love it. 


Until next time...

@wewantgoodmusic

To see my interview with Asylums please click here: Interview

To find out more about Asylums you can click here: http://www.asylumsband.com/